Blue Cadet-3: A Music Blog by Josh R.

  Drive Like Jehu - Drive Like Jehu (1992) My copy: 2023 repress on marigold vinyl by Headhunter Records. Only a few years before Yank Crime would revolutionize the face of post-hardcore from behind the scenes, Drive Like Jehu released their self-titled debut. Coming off of their work with Pitchfork, John Reis and Rick Froberg devised a new album that retained their knack for catchy hooks while stretching the song structures into winding corridors of hard punk riffs.  Solo guitar tremolo quietly flops about on “Caress,” lulling newcomers before the track viscerally snaps to life through the rhythm section. Froberg’s shouts are more urgent than his previous work; his accusations having bolstered the then young emo movement. While the droning guitars are sharp, the band often relents into major choruses with more accessibility than their future songs. “Spikes To You” keeps things simple with more forward riffing though the drums are ever dynamic and abrasive. They save the m...

  UT - In Gut’s House (1987) My copy: 2020 remastered reissue by Out Records. NYC’s UT came up in the no-wave era during the mid to late 80s. Combining elements of industrial, goth and pop, their brand of cacophony was made more interesting by the often bright vocal deliveries. The three-piece also kept their writing process fresh by switching instruments frequently, with a different member leading the charge on each song.   “Evangelist” is their most consumable track, with a straightforward and punkish use of repetition in the guitars. The bouncy elated vocal melodies give the track a charming and infectious atmosphere. The low-end is mostly chopped away, sounding similar to early Sonic Youth or The Raincoats. “I.D.” is a better example of the lo-fi mixing as the bass and guitar trade riffs interchangeably. They stay grounded in no-wave through their refusal to smooth out the percussion into easily recalled grooves, instead brewing up dark soundtracks for the horror-...

  Mercury Rev - Yerself Is Steam (1991) My copy: 1991 press on blue vinyl by Mint Films. Getting their start in Buffalo, NY scoring student films, Mercury Rev’s first two full-lengths utterly revolutionized the sound of neo-psychedelia with much credit being owed to the ambitious production style of Dave Friddmann. Originally fronted by David Baker, the group were known for expansive soundscapes with occasionally dense guitar sections influenced by a love of the Stooges, etc. On Yerself Is Steam the band concocts a rich potion of enchanting instrumentals, fitting nicely under whacked-out vocal performances.  “Chasing A Bee” is a wonderful introduction, with far off acoustic guitar gaining on woozy groaning background sounds. The vocals are hung-over and borderline demented as they stumble around the guitar. The track picks up and expands into a hot-air balloon fueled by crackling distortion and a grinning vocal chorus. Flute adds a new layer with calming harmonies - and it...

  Black Wing - No Moon (2020) My copy: 2020 limited press on blue vinyl with orange and black splatter by The Flenser. Dan Barrett’s first release under the Black Wing pseudonym was a shockingly colorful departure from the jagged post-punk/shoegaze edge of his main work with Have A Nice Life. Not that Black Wing was without it’s emotional and instrumental angst, rather the album painted a creative new side to the standard tortured artist persona. Five years later, Barrett revisits Black Wing only to bury the project’s originality in tired, obnoxious cliches.  Black Wing remains slightly distinct from Barrett’s other projects as the signature sequenced percussion arrives on the scene following a slow moving intro of breathy synths on “Bollywood Apologetics.” Things are not quite offensive, though they certainly are underwhelming. All musical elements kick in too quickly, with no sense of elegance or subtly; it feels as though Barrett is eagerly rehashing his best ideas from...

  Wipers - Is This Real? (1980) My copy: 2009 limited remastered reissue by Jackpot Records. Is This Real? Is the debut punk LP from ambitious songwriter Greg Sage, whose blistering combo of punk and melodic alt-rock would go on to influence countless bands beyond its actual time. While conceptually it is clear that this is the debut from a band that is still finding its place, the rhythm and production is phenomenal given the circumstances.  “Return Of The Rat” is such an impressive opener that the rest of the A-side is largely overshadowed. The guitar playing is so dense and firmly distorted while the melodic bass grooves are perfectly warm - the drums match the pacing perfectly while Sage’s aggressive vocal hooks add just the right level of angst. Sage has a total knack for vocal melody; he can be angry and bitter but also reflective and emotional. “Mystery” is more anthemic as with traditional punk while “Up Front” is the first to focus more on dynamics between the voc...

  Brian Eno - Another Green World (1975) My copy: 2018 remastered reissue by Astralwerks.  Dreamt up in 1975 as Eno’s third full-length solo (ish) release, Another Green World was the first of Eno’s projects to truly push his music into a category of its own. With his prior work sticking more closely to prog and psyched-out pop/rock, Another Green World stands out for its gentle but firm synth experimentations. Utilizing the talents of high-profile friends such as Phil Collins, John Cale and Robert Fripp (among others), Eno has created a nearly timeless evocation of musical curiosity.  Two bass parts clash under the siren-esque pulsing guitar blasts on “Sky Saw,” with a further mix of unique instrumentation building an otherworldly introduction to Eno’s vision. There are stellar dynamics as John Cale’s viola whines in delicate syncopation with all else, eventually panicking in the end as everything fades away. The fretless bass pokes about on “Over Fire Island” as lay...

  June Of 44 - Engine Takes To Water (1995) My copy: 2020 remastered reissue on glacial blue vinyl by Quarterstick Records. June Of 44’s debut album took the groundwork sewn by Slint and dialed up the complexity with winding labyrinths of competing guitars. The rhythm sections are generally more subdued, similar to Slint, but the drums do wonders at thrusting the band into post-hardcore as needed. Recorded by James Murphy in NYC, the album has a distinctly anxious tone that helped further develop several styles.   “Have A Safe Trip, Dear” starts out quietly, with the guitar slowly trickling through harmonic melodies until the spoken word vocals enter. Though the core is off-kilter melodic guitar, the band takes the track into distorted plunges with heavy drums. The track strips itself down more than once, first leading into a furious passage with shouting and again to reset into the cool early section. More enthusiastic riffing is heard on “June Miller” though there are...